Are You Experienced

* Note that with Polydor releases some stamper detail is expressed as:

> = an upside down triangle in all stamped matrix detail for the Track Records and Polydor Records pressings

% = a diamond

^ = a triangle

This title can also be found in box sets which can be found in the Studio section.

The big bang theory! Hendrix’s arrival in “swinging” London was to send shock waves that continue to reverberate to this very day in both social and music circles. Bringing endless guitar line ideas along with unknown song ideas to the U.K. Hendrix was able to capture the 60’s swinging mood emanating from the capitol city with the help and guidance of Chas Chandler and mould and shape his duel continent experience into what is for me at least, the most interesting and involving debut album in popular musical history. The original as intended record is far more reflective of and engaging with because of the non-single approach. Of course, not as “catchy” as the U.S. iteration but a lot more inventive and carries a weight of a debut album that a more of a compilation approach could ever do.

Chandler it was who put in place firm boundaries which Hendrix had little option other than to conform to at that juncture. An ideal setting for an unknown and unpublished musician, to develop his craft in a focused and productive manner.

Chandler was determined to ensure Hendrix could walk before he could run, not least as Hendrix was now his business. So what we got in 1967 was an album packed with styles and ideas all pushing for attention, all screaming the same message; I’m here and you better take note.

The original release of “Are You Experienced” on the 19 May 1967 was initially as a mono mix on Track Records. For us in the U.K. we would have to wait until Track Records released its Backtrack series before we got a flavour of the stereo mix, a full three and a half year wait for this original song listing to be presented to us in a mix, the mix that Hendrix had the vision for. Even then, we missed out on 3rd Stone From The Sun in all of its stereophonic glory.

The tracks that got dropped by the “suits” in the U.S.A. Red House, Remember and Can You See Me are all of the mono mixes. Only Remember was to show up soon after, on Smash Hits Reprise MS 2025, albeit with a different lead vocal, with no stereo mix ever being made available for either of the takes of Red House or Can You See Me.

Of course, Mike Jeffery would need little convincing to conclude to a revised track listing if he was working to the premise of greater sales! While those business calls sure had a long and resonating outcome, I’m far from convinced that the original album as is would not have had just a similar impact on listeners as the amended album had in the U.S.A., even if that album did contain three mono mixes.

Of the outstanding questions regard this album [plus the US additions], the most pertinent is that of the existence of the original 4-track recordings for these songs and has this tape survived the intervening years. That, along with the mono mixed master tape for the original mono record. It’s difficult to conclude definitely but we can consider a number of valid points. Before we can do that we need to review what was recorded, when and where as these are known details [barring the occasional difference of a date] and all have a real impact on how we ended up were we are.

We can see that “Are You Experienced” as is, the original recording [as intended by Jimi Hendrix and Chas Chandler] does not exist in Jimi’s native country [other than as an import purchase]!

What was issued in the U.S.A on the 23rd August 1967 was a same titled record that resembled the original release, simply a recreated vision, repackaged. A close approximation of the intended!

The intended and received track content, for Track Records initially and followed quickly by Barclay Records in France [to be fully determined the release date sits between 9th and 13th August 1967], is that of a mono mix only. Yet another tale hangs here, one of speculation, opinion and very few supported facts though we get to that a little later!

Are You Experienced UK [and French] track listing;

Side A

01. FOXY LADY

02. MANIC DEPRESSION

03. RED HOUSE

04. CAN YOU SEE ME

05. LOVE OR CONFUSION

06. I DON'T LIVE TODAY

Side B

01. MAY THIS BE LOVE

02. FIRE

03. 3RD STONE FROM THE SUN

04. REMEMBER

05. ARE YOU EXPERIENCED

LABEL: Track Records, mono mix throughout

Are You Experienced US track listing;

Side A

01. PURPLE HAZE

02. MANIC DEPRESSION

03. HEY JOE

04. LOVE OR CONFUSION

05. MAY THIS BE LOVE

06. I DON'T LIVE TODAY

Side B

01. THE WIND CRIES MARY

02. FIRE

03. THIRD STONE FROM THE SUN

04. FOXY LADY

05. ARE YOU EXPERIENCED?

Label: Reprise Records with issue as both stereo and mono.

Across both the Track/ Barclay Records and Reprise Records release’s we have the following song listing, a total of 14 titles:

3RD STONE FROM THE SUN

ARE YOU EXPERIENCED [Began life as Title #4]

CAN YOU SEE ME

FIRE

FOXY LADY

HEY JOE

I DON'T LIVE TODAY

LOVE OR CONFUSION

MANIC DEPRESSION

MAY THIS BE LOVE [Initially titled “Waterfall” on the tape box]

PURPLE HAZE

RED HOUSE

REMEMBER

THE WIND CRIES MARY

The following is an attempt to collate and condense an overview / timeline of the recording sessions. Utilising both John McDermott’s “Ultimate Hendrix. An Illustrated Encyclopedia of Live Concerts and Sessions”; John McDermott with Eddie Kramer and Billy Cox, shown as “UH” when referenced, along with Gary Geldeart and Steve Rodham’s “From The Benjamin Franklin Studios” 4th Edition Parts 1 and 3, shown as "BF" when referenced. While recognising the differences that exist between publications with some detail it is fair to say these two publications are as accurate as likely to be. I have avoided my own listing [as it remains unpublished] and have, when required referenced Doug Bell’s listings,

Probably the best place to begin is at the start with De Lane Lea studios. While doing so be aware that I have stripped this information back from the fuller detail and any distracting information unless I felt it necessary to the overall perspective of the recording line.

I have noted the UK release dates of the singles for the three US replacement tracks.

October 23rd 1966Hey Joe basic takes recorded. Despite a claim from Chas Chandler in that he overdubbed the bass parts for the basic track that went on to be used, there is little if any support for this claim. John McDermott has noted in “UH” that two other studios were utilised in the completion of the recording for “Hey Joe” for the likes of backing vocal [at least] and that an accurate record of this take of the songs history is difficult to fully achieve. Recording is to one inch, four track tape.

Released as a mono mix 45 rpm single on Track Records; Friday December 16th 1966 backed with “Stone Free”, so would subsequently not be included or considered for the final original album’s track listing. This title was mixed to both stereo and mono.

December 13th 1966Foxy Lady basic track recorded and some rough mixing at CBS studios.

December 15th 1966 saw further rough mixing though no recording as Mitch was not in attendance on this date. Olympic Studios 3rd February 1967 saw overdubs and mixing while again at Olympic Studios the 8th February 1967 saw a complete reworking of this track, replaced bass, reductions / mixing etc. Mixed to both stereo and mono.

December 13th 1966Can You See Me CBS, recording only. Rough mix December 15th 1967 at CBS. While this was only mixed to mono the basic instrumental was mixed to stereo with a different lead vocal.

January 11th 1967Fire Basic track recorded at De Lane Lea and the overdubs and mixing at Olympic February 8th 1967.Vocal overdub April 3rd 1967, again at Olympic Studios. Mixed to both stereo and mono.

January 11th 1967Purple Haze Basic track recorded at De Lane Lea. Olympic Studios saw guitar and vocal overdubs on February 3rd 1967 and further vocal overdubs February 7th 1967. Again at Olympic Studios, February 8th 1967 saw further overdubs and mixing. * Further work may have been under taken on February 5th and 6th 1967 for this track. This track mixed to both mono and stereo. Track Records mono single 45 rpm release backed with 51st Anniversary, March 17th 1967.

January 11th 19673rd Stone From The Sun Basic track achieved at De Lane Lea. Olympic Studios April 4th 1967 and April 10th 1967 overdubs and mixing. Track mixed to both stereo and mono.

January 11th 1967The Wind Cries Mary De Lane Lea basic track. This saw a release as a single 45 rpm backed with Highway Child on Track Records May 5th 1967. Mixed to both stereo and mono.

January 11th 1967Love Or Confusion Again, a De Lane Lea initial recording followed by an overdub / mixing session at Olympic, February 8th 1967. Also, April 4th 1967 saw further work by way of a new reduction [as noted in UH, placing this song now three generations away from the original master] followed by a lead vocal and guitar part over dub before final mixing. Track mixed to both stereo and mono.

On or around February 3rd 1967 recording began at Olympic Studios. An account was secured through and in the name of Polydor Records with Olympic Studios via Chas Chandler. Though it is noted that recording for AYE was not solely at this facility from this date onward; “I Don’t Live Today” recording was initiated at De Lane Lea later in February ’67.Along with “Manic Depression” a month later in late March ’67.

February 8th 1967Remember Olympic Studios recorded and mixed to mono only. Though this day is also when the stereo mix is attributed to though it is unknown as to when the alternate vocal was recorded and mixed.

February 20th 1967I Don’t Live Today A basic working master achieved at De Lane Lea studios. April 3rd’67 saw mixes done at Olympic Studios.

March 29th 1967Manic Depression Again consigned to De Lane Lea Studios the mix made on this date was rejected in favour of a later date mix. Though not documented specifically, UH does intimate that the first week of April ‘67 saw further work [at Olympic Studios] including mixing. This would have been most likely April 3rd ’67. Track mixed to both stereo and mono.

3rd April 1967May This Be Love Olympic Studios saw initial recording on this track, initial tape box titled as Waterfall. Take 4 being the master, with guitar and two lead vocal over dubs at the same session. A final mix was archived this date. The page turning can be heard in a stereo mix, which of course never appeared on the original album’s mono take and this specific stereo mix was not included on the Reprise Records iteration of the title. For this page turning, see Barclays 7”45rpm of this song backed with 51st Anniversary and note that the song carries its original title of “Waterfall” on this French release.

3rd April 1967Are You Experienced A start to finish recording on this date of what was initially titled, #4. 4th April 1967 saw further work with a reduction to allow for piano, backward “elements” and vocal.

One point that needs highlighting here, were the term “rough mix” or “initial mix” was claimed it is really unknown at this point if this applies to a mono, stereo or both versions. BF indicates [by noting stereo and mono () numbers that the comment applies to both stereo and mono [where both are applicable] in all cases.

April 9th and 10th1967 saw the final mixing for “Are You Experienced”, no real detail is presented for this / these session(s).

April 24th and 25th 1967 saw the final “fixes and mixes” through the night to Are “You Experienced”. Both mono and stereo were attended to on eight songs that would appear on the original tracked album. “Foxy Lady”, “Manic Depression”, “May This Be Love”, “I Don’t Live Today”, “Fire”, “Remember”, “Third Stone From The Sun” and “Love Or Confusion”. This work done by Hendrix, Chandler and Kramer at Olympic Studios.

This session saw final mixing and sequencing of the album. A lacquer was cut later that day, Tuesday 25th for approval from Polydor [Horst Schmaltze, head of A&R]

Mixing date detail per track. Note that, for eight tracks [listed prior], any mix done [stereo and / or mono] on the date stated in the following likely would have seen amended or redone, with the other option of even been solely undertaken on the final late night early morning session set for April 24th and into the 25th’67:

Hey Joe, undocumented.

Foxy Lady, mixing February 8th ’67 and April 3rd ’67.

Red House, mono mix only and not documented. Details indicate that the mono mix was attended to on the day of recording, December 13th ‘66 and possibly April 3rd ’67.

Can You See Me, mixed to mono only December 15th ’67 and again final mix date unconfirmed, again April 3rd ’67 appears to the likely date for the final work.

Fire, mixing February 8th ’67 and April 3rd ’67.

Purple Haze, mixed February 8th ’67.

3rd Stone From The Sun, whilst the stereo mix is confirmed for April 10th ’67 it is likely that the mono mix was conducted at the final April 24th/ 25th ’67 session. Work on mixing may have included April 3rd ’67.

The Wind Cries Mary, no detail.

Love Or Confusion, mixed April 4th ’67. Work may have been undertaken on April 3rd’67 prior to the following day’s reduction.

Remember, mixing February 8th ’67 and April 3rd ’67.

I Don’t Live Today, mixing April 3rd ’67.

Manic Depression, mixing [most likely] April 3rd ’67.

May This Be Love, mixing April 3rd ’67. This included the alternate stereo mix utilised by Barclay Records.

Are You Experienced, mixing April 4th ’67.

For a very complex recorded album for that period, a complexity that sat in both the recording and construction of any given song, there is a clear lack of expenditure of time involved per song! With money initially tight coupled by those time limitations the organising and stewardship of Chandler clearly came to the fore. It is ironic then that Chandler would rush the final operation that sat directly within his control, a copy master tape. And it is here that we begin consideration of those tapes.

While the Barclay mono Are You Experience is clearly the preferred source for the mono release [be it the original or the bastardised U.S. iteration of the track listing] before any of this is really considered we must highlight that Barclay apparently had access to mixes / tapes that were clearly not utilised elsewhere. As we will see, there was access to two different mixed master tapes, clearly one being a copy and also as noted already, access to a completely different stereo mix of at least one track from the album.

Side A
01 FOXY LADY
02 MANIC DEPRESSION
03 RED HOUSE
04 CAN YOU SEE ME
05 LOVE OR CONFUSION
06 I DON’T LIVE TODAY

Side B
01 MAY THIS BE LOVE
02 FIRE
03 THIRD STONE FROM THE SUN
04 REMEMBER
05 ARE YOU EXPERIENCED

A: [2407010 hand etched] 612001 A//2>420 11 3

B: 2407010 B//2>420 11 5

MACHINE STAMPED

There is a variation on this Backtrack pressings with Mono, [cover] and Stereo [label]. This variant presents differences in the recording with regard to which tracks have been treated to "fake" stereo. As much as I don't want to go too far down the road of enhancement at this stage I will use this / these pressings as an example of how we get differences between what to all intent and purpose are the "same" album. These are my impressions from listening to these recordings for the umpteenth time mid 2014 along with Steve Elphick for a Ben Franklin update. If you took time to read the Doug Bell article regard enhancement he states that Red House on this album is mono, yet I hear slight, I emphasise slight, adjustment on both variations of Backtrack 10's Red House. I also hear slight application of enhancement on 3rd Stone on the mono - mono pressing but not on the stereo - mono album. While the same slight application can be heard on Can You See Me and Remember on the mono - mono album but not the stereo - mono version! The main differences , of which we have no doubt, between these variant pressings of BT 10 is that both albums have the same presentation on side one in that the tracks are presented as

Side A

1. stereo

2. stereo
3. mono
4. mono
5. stereo
6. stereo

While side B on the mono - mono album is presented as

1. stereo
2. stereo
3. mono
4. mono
5. stereo

Against side B on the stereo - mono as all five tracks presented as mono.

Welcome to the world of enhancement, Jimi Hendrix vinyl and a very odd attitude to customer satisfaction! It is important to note that enhancement is not an alternate mix of a song regardless of how heavy handed that application may be, it is simply a "fix" at the mastering stage of an albums production.

The Mono - Stereo pressing also has a slight variation in matrix information:

A. [2407011 hand etched] 612001 A//2>420 11 11

B. [2407010 hand etched] 612001 B [A which looks like it has an inverted triangle stamped over it]>1 42

MACHINE STAMPED

The following copies of Are You Experienced also contain enhanced material:

Again it is worth noting that the enhancement on Polydor albums differs per pressing in that not all of the same tracks have enhancement and were they do the level of enhancement can and does differ in a number of instances. While the original Track Records sleeve did not have the JIMI HENDRIX text across the top front some later issues included this in white text. While both of the German sourced vinyl copies listed here did include that text it was printed in green. The French Plydor issue also has the green text on the front cover. It is difficult to date the re issues from Polydor as they it appears that each variant had let alone country had differing dates. I read that the French Polydor 2489 148 has an issue date of 1971 and the German 2459 390 as late as 1980! I'd take these dates with a pinch of salt.

The following album is the stereo version of this release and mastered from digital. The mastering [Carlos Olms] on this album makes it worth seeking out. Both Red House and Remember are mono here.

I have no idea just what is contained in the grooves of this Greek Polydor pressing, can anyone enlighten me? The cover and label for this pressing can be seen on page 2. If we judge this release by it's cover then it will be enhanced from mono but for now this remains a guess.

This is from an E Bay listing and clearly gives 1967 as a release date, I do have doubts but nothing to support those doubts about release date. Either way it does not detract from the fact that this is a scarce release, well thus far! Oh, it does have a different track listing to that of the US and European releases!

POLYDOR 48903 LPHM [SPAIN]

A: 850 48903*A=1

B: 850 48903*B=1

I have to take this dead wax matrix information at face value, as it is listed on E Bay. Pictures on page two.

Picture run through: The original pressing from Track Records followed by Track Records Backtrack series issue and then a selection of Polydor issued records. Commencing with the Polydor “2fer” that was doubled up with ABAL and a selection of other single sleeve issues from Polydor spanning a couple of decades. Following on with the first two pressings from Barclay Records, France, an original Reprise mono and a reissue of the Stereo counterpart from Reprise from the 1980’s.

While this next listed pressing becomes a double album with the addition of the three alternate tracks from the US pressing it also includes three 45RPM B sides by way of Highway Chile, Stone Free and 51st Anniversary. The gatefold sleeve which is based front and rear, on the UK Track records release gives 12 colourized shots of Hendrix from the late Harry Goodwin. This release also carries a colour 8 page booklet with an essay from Dave Marsh. With the second entry basically a re release of this title we get coloured vinyl and a slight alteration to the booklet.

This 2LP also appears with the US “fisheye” cover and the main album is made up of the US issued recording with the additions being the missing UK selected titles from the original LP, though not listed here.

The Sony Legacy / Experience Hendrix re issue AYE mono's recycled part of the art from the earlier MCA re issue stereo AYE by way of incorporating the Harry Goodwin photographs that had been used on the inner gatefold. Here with these mono outings they appear on the inner sleeve and without colourization.

Picture run through: MCA with booklet, FNAC coloured vinyl with booklet that shows differences. Sony US pressing of the UK mono and the US mono re-issues, these did not come with a booklet but the inner sleeves are shown with the slight variant to the design. Following these, the 2010 re-issue [which came with the booklet, not shown as it is the same as that which came with the FNAC] and the fabulous looking and sounding Newbury Comics purple pleasure!

Pirate copies that form collector’s pieces only. Other pirates of this title can be found in the Studio section as they form part of box sets.